Abstract

In this Artist’s Reflection, Latham personally, theoretically, aesthetically, and culturally contextualizes her renderings of “Christ-like femininity” in Jesus Camp Queen (JCQ), an autoethnographic performance about her formative experiences as a member of a fundamentalist Christian sect. Her reflections on JCQ also speak more broadly to the ways in which public rituals that celebrate a highly codified feminine ideal—and thereby reify binary gender roles—create profound internal dissonance, even or perhaps especially within those whose performances most fully embody the idealized role of femininity in which they have been cast.